thanks David Gans, this show is a blessing to be able to hear. thanks, great sound, incredibly good.

This is the middle of four days at the Fillmore Auditorium, right before they ventured to their first booking in Canada. It sounds like most of the first-year shows, but we only have a handful of them and this has the best versions of a couple rarities. This was a label showcase gig – hence the strict songs format and also why it was taped so well. Given the length, they must have played much longer than the other bands. Bobby likes to say they blew the important ones, and this isn't the single best example from '66 but the suits probably didn't know that. Average for '66, albeit concise and with historical interest. But we don't have the first two nights of the run, and the next night is shadowy, so if you really like '66 then every show is a highlight.

First Set. The beginning of Rider is cut. The OFF also cuts the starting false note on Big Boss Man. Phil is great, as are the cranked-Marshall-ish tones. Though Standing on the Corner was part of the standard setlist in spring/summer '66, we only have three. Vancouver is best, but this one has loud organ, if you prefer. The rudimentary Beat it On Down the Line-7 has an early confab; "It was six last night, man. 8? 1? Even numbers, man! How bout 7? Watch the speed. Let's try'n do it right." Though it was probably played for much of '66, we have only one In the Pines, so this is historical necessary. Someone's mic is off for Cardboard Cowboy, and it's a low point of the set. The band knew this one as The Monster, but it was later called Cardboard Cowboy by collectors. It has a clear Airplane influence, and features sophomoric couplets like: "The power and crystal seem transistorized/by all-hallowed rangers on the strength of an exit sign/From the looping anthropist with his magic net so high/Mashed potatoes dribble in the heat of reality's earth/The demented doom from running through him". We have three, all from July, and it probably only lasted that long. I doubt many of us will compare Next Time You See Me to a '72, but for the Pig fans it's always good. Just a Hand to Hold has a tape flip. The acme of the set is the wonderful, jammed Cream Puff War

Second Set. The intro of Viola Lee is slightly edited on the OFF. This is their original jam vehicle, and as such there are better early versions. Dough Knees has a few different lyrics. Pain in My Heart uses the Stones' arrangement [first released on the No. 2 LP, the previous year], and this is better than the one we have from Nov. Bobby hasn't really gotten a grasp on Minglewood yet. The Sittin' on Top from earlier in the month is best, but this has a nice end jam. We have seven versions of You Don't Have to Ask, some better some lesser. Schoolgirl is a fast take, and it's weird to think that It's All Over Now Baby Blue was only a year old (it's a bit OOT). Dancing in the Street is kind of generic for what we think of as the Dead, but the end is missing, so maybe it went insane. The Midnight Hour encore is missing; which featured Jeff Airplane, Joan Baez & Mimi Farina. Balin sang it.

1st Set:  C+
2nd Set: C
Overall = 2¾ stars

Highlights:
In the Pines – we have only one, so...
Cream Puff War – fine fretwork filo [w/jam]
Pain in My Heart – best we have

SOURCES: Historically, setlist sources didn't agree, because the tapes had been chopped up for various purposes (and trades in circ were incomplete). The miiler_89555 has all that is available in high qual. The miller_21063 has a slightly different lineage but is an equivalent source. You might try the mono switch if you have one. Birth of has Big Boss, Standing on the Corner, In the Pines, Nobody's Fault, Viola Lee, Don't Ease, Pain in My Heart, Sittin' on Top of the World, & It's All Over Now Baby Blue. These were released undated and out of sequence. Cream Puff & You Don't Have to Ask are on So Many Roads.

Another B.C.E. (Before Cryptical Envelopment) archaic favorite with a wonderfully full soundboard. But as in many of Bear’s stereo set ups, I prefer throwing the show into music editing and flipping channels in a second copy, then overlap both to mix a mono sound. It’s much easier on the senses when having earphones on.

Apparently the Dead caused the sun to flare up w/ this perfomance:

http://link.springer.com/article/10.1007%2FBF00150955

Or maybe it was the particles raining down on them?

-

shrill on dat hammond pigpen!!!
shrill on dat harp!!!
wail dem blues away!!!

Why are most of these shows only avaiable in stream wheres the download version?

1966-07-17 and 16

Apparently there is debate as to where the intro (before Viola Lee) truly stands. 2 nights for the price of one... And 2 bands for that matter (however not seen on the tapes). Listen to tracks 11-20 then 1-10 for chronological happiness. Can't get much older than this, eh, Mr. Gans? Awesome show... I mean shows.

Don't give the song away! and spare a match. Don't Ease Me In... Great song... Short and sweet. More of the ">" (jam) symbol... That's what I like to see. Ron's tearing it up on SOTOTW. Cold Rain And Snow> GMLSG> Baby Blue is nice to hear. At about 9 min. into GMLSG is the kind of trademarked Billy sound I love.

In The Pines held resemblance to Garcia and Grisman material. Cardboard Cowboy is a funny little number... This is the first I've heard it. And one more Next Time You See Me... Can't get enough.

Wonderful show.

What an incredible treat that we have this wonderful recording more that 40 years later. I wasn't alive yet when this was performed but this recording transports you back in time.
An extra star just for existing!

I'm happy to see others who have a special love and appreciation for this sublime and special era of the Dead. There is a raw lysergic energy that emanates from these 60s tapes and eats your mind. Hearing the band progress through 66, 67, and 68 makes us witness to a glorious ever morphing transformation - much like the music itself. Thanks to those crazy freaks who rolled tape and captured the acid-drenched, neuro-chemically tweaked and twisted sounds.

I'm new on this site, i want to know how can I dowload the files ?

Was 17 in 66...born in the city...went to HS in San Bruno...hard to say if I was at this particular show...if you were there, you know what I mean... the days, the dance halls, the sunshine/fog in the park; it all just sort of blurred together. I DO, however, remember an overcast day in 66 when the Dead came down the Street on a flatbed truck and led everyone, dancing in the streets, down to the park near Kezar where the HA made a big circle with bikes and Jerry handed out lsd oranges on the last day before it became illegal.

This show would have been when there were carpets and couches with stand up ashtrays in front of the stage and the dancing was behind...with blacklights suspended from the ceiling 3 or 4' over the floor with people laying under them getting painted. There wasn't the same separation between musicians and audience as there is now...it was more a matter of 'hey, we brought instruments to this party, what did you bring...?' Dancing shoes, pockets full of goodies to share and a shit-eatin grin. Puppet show upstairs. Free handbills and posters advertising the next show that typically ended up on someone's coffee table cleaning seeds, floorboard of somebody's car or thumbtacked to the wall until you moved or they just disintegrated...

what a treat here, awesome the whole way through, except for the opening and closing tunes being cut

I am a big fan of this era even though I wasn't even close to be alive in 1966. However I've heard my share of tapes, and saw the dead numerous times in the 90s. That being said, I really love how tight the band was and further.. Jerry's sound is amazing in the 60's. I think he played a gibson during this year and his chord selections during jams are mind bending. The band as a whole play some incredible shows during these years, so glad I have a moment to stop and listen. I've been watching this site grow more and more over the years and there are sooo many good shows!

This has to be the best f*ing site for the real Grateful Dead fan I have ever seen. Every song is a jem in excellant sound quality. I hope you realize the appreciation I have for this.
~Johnn

//////////////// TO "FOLKHIPPY" /////////////////
PLEASE DROP ME A LINE!!!!.
I LOVE THE REVIEW YOU GAVE. YOU SUMMED IT UP PERFECTLY AND I'D LIKE TO USE YOUR REVIEW ON MY FACEBOOK NOTES!!!.
MY EMAIL IS hotrodjohn71@yahoo.com.
Let me know if I can copy your review and post it. I won't post without your permission..

Thanks, Johnny~~~

Anyone who was in the S.F. scene will tell you the real summer of love was in 1966. LSD was still legal earlier in the year and huge quantities were shiped in from European labs and of course, home brewed by Bear. The press, tourists, and street kids hadn't ever heard of Haight/Ashbury. Acid Tests, Merry Pranksters, The Quick, the Grape, The Airplane, Big Brother and...THE DEAD were blowing peoples minds up and down the coast with a new sound. Oh if I only were born in the right year! The music on this tape is the best representation of what a Grateful Dead show would sound like during that age of exploration. The sound quality is SO good, you can close your eyes and imagine what it would have been like to dance on acid at the Fillmore in front of this great band. I can only imagine anyone who was there at this show wishes they would go to sleep and wake up back in time on that day!

The Pines, Cream Puff War, Standin on the Corner are highlights here. This show has my favorite version of Viola Lee Blues. I am so glad this moment is preserved in time and available here on the IA! THANK GOD FOR YOU GUYS!

It's hard to believe that this recording is almost 43 years old, as the sound is just pristine. Overall, I'd have an extremely hard time picking a better show from '66. 11/19/66 comes close, but this one has an edge simply due to the fantastic sound, not to mention it's just plain epic for '66.

The Dead were just going for it, giving their all with every performance, and this is a good example of the band just starting to discover their unique, psychic chemistry with one another.

Fantastic early versions of Cream Puff War and Viola Lee Blues, and I still get blown away by the former, because of the fact that that's JERRY singing! Every time I play it for someone, they'll inevitably say, "Wow, Pigpen can sure belt it!" And I'll say, "Hell yeah, but that's Jerry singing!" The whole band just had such an intensity in '66, that people only familiar with post-'67 Dead may have a hard time realizing that this is in fact the same band, give or take a member or two, depending on the era.

Of course, Pigpen is in top form here, but no endless rap jams from him, but still, you can tell from this performance just what a talent he was, both his playing and his vocals. He was seriously one of the best blues frontmen of the era, and if his health hadn't failed him, he could have become even more of a legend than he already is.

If your new to pre-primal Dead, this is a great place to start. Thanks to Charlie and David for this incredible peek into this amazing time in the Dead's history.

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~SUMMER OF LOVE~

5 stars for the mix
5 stars for the recording
5 stars for the performance
5 stars for the Charlie Miller Transfer

A "MUST HAVE" show for collectors of 1966 GRATEFUL DEAD.

Charlie did it again, another audio Masterpiece.

I recommend clicking on Charlie Miller's name and collecting all his GRATEFUL DEAD shows.

Eat, Drink, Be Merry and Listen to the GRATEFUL DEAD.

Thanks for the LOVE from 1966.

I miss 1966.

In the pines, In the pines....Ah, to be in the pines along the Eleven point river in January listening to this stuff. Thank you archive. Thank you Mr. gans and Mr. Miller

To consider again and again the influence of traditional music with the Grateful Dead - Know You Rider, In the Pines, Sitting on Top of the World. To philosophize for a moment - a part of musicianship is extending the value of music through the ages. Gratefully we can listen and share - many thanks!